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Queer Theory's Evil Twin
If queer theory was born of the union of sexuality studies and feminism, transgender studies can be considered queer theory's evil twin: it has the same parentage but willfully disrupts the privileged family narratives that favor sexual identity labels (like gay, lesbian, bisexual, and heterosexual) over the gender categories (like man and woman) that enable desire to take shape and find its aim.
In the first volume of GLQ I published my first academic article, "My Words to Victor Frankenstein above the Village of Chamounix: Performing Transgender Rage," an autobiographically inflected performance piece drawn from my experiences of coming out as a transsexual.1 The article addressed four distinct theoretical moments. The first was Judith Butler's then recent, now paradigmatic linkage of gender with the notion of trouble. Gender's absence renders sexuality largely incoherent, yet gender refuses to be the stable foundation on which a system of sexuality can be theorized.2 A critical reappraisal of transsexuality, I felt, promised a timely and significant contribution to the analysis of the intersection of gender and sexuality. The second moment was the appearance of Sandy Stone's "The 'Empire' Strikes Back: A Posttranssexual Manifesto," which pointedly criticized Janice G. Raymond's paranoiac Transsexual Empire and called on transsexual people to articulate new narratives of self that better expressed the authenticity of transgender experience.3 I considered my article on transgender rage an explicit answer to that call. The third moment was Leslie Feinberg's little pamphlet, Transgender Liberation. Feinberg took a preexisting term, transgender, and invested it with new meaning, enabling it to become the name for Stone's theorized posttranssexualism.4 Feinberg linked the drive to inhabit this newly envisioned space to a broader struggle for social justice. I saw myself as a fellow traveler. [End Page 212] Finally, I perceived a tremendous utility, both political and theoretical, in the new concept of an antiessentialist, postidentitarian, strategically fluid "queerness." It was through participation in Queer Nation—particularly its San Francisco-based spin-off, Transgender Nation—that I sharpened my theoretical teeth on the practice of transsexuality.
When I came out as transsexual in 1992, I was acutely conscious, both experientially and intellectually, that transsexuals were considered abject creatures in most feminist and gay or lesbian contexts, yet I considered myself both feminist and lesbian. I saw GLQ as the leading vehicle for advancing the new queer theory, and I saw in queer theory a potential for attacking the antitranssexual moralism so unthinkingly embedded in most progressive analyses of gender and sexuality without resorting to a reactionary, homophobic, and misogynistic counteroffensive. I sought instead to dissolve and recast the ground that identity genders in the process of staking its tent. By denaturalizing and thus deprivileging nontransgender practices of embodiment and identification, and by simultaneously enacting a new narrative of the wedding of self and flesh, I intended to create new territories, both analytic and material, for a critically refigured transsexual practice. Embracing and identifying with the figure of Frankenstein's monster, claiming the transformative power of a return from abjection, felt like the right way to go.
Looking back a decade later, I see that in having chosen to speak as a famous literary monster, I not only found a potent voice through which to offer an early formulation of transgender theory but also situated myself (again, like Frankenstein's monster) in a drama of familial abandonment, a fantasy of revenge against those who had cast me out, and a yearning for personal redemption. I wanted to help define "queer" as a family to which transsexuals belonged. The queer vision that animated my life, and the lives of so many others in the brief historical moment of the early 1990s, held out the dazzling prospect of a compensatory, utopian reconfiguration of community. It seemed an anti-oedipal, ecstatic leap into a postmodern space of possibility in which the foundational containers of desire could be...